Bergson and The Art of Immanence is the first book to bring Henri Bergson’s philosophy of immanence together with the latest ideas in art-theory and the practice of immanent art as found in painting, ...
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Bergson and The Art of Immanence is the first book to bring Henri Bergson’s philosophy of immanence together with the latest ideas in art-theory and the practice of immanent art as found in painting, photography, and film. This new collection of essays from world-renowned art theorists, philosophers, and Bergson-scholars will provide both a wide historical context and a rigorous conceptual framework for contemporary art-theory and practice involving the concepts of rhythmic duration, perception, affectivity, the body, memory, and intuition – all of which were given their first systematic theorization in the twentieth-century as immanent objects through the work of Bergson.Less

Bergson and the Art of Immanence : Painting, Photography, Film

Charlotte de Mille

Published in print: 2013-11-30

Bergson and The Art of Immanence is the first book to bring Henri Bergson’s philosophy of immanence together with the latest ideas in art-theory and the practice of immanent art as found in painting, photography, and film. This new collection of essays from world-renowned art theorists, philosophers, and Bergson-scholars will provide both a wide historical context and a rigorous conceptual framework for contemporary art-theory and practice involving the concepts of rhythmic duration, perception, affectivity, the body, memory, and intuition – all of which were given their first systematic theorization in the twentieth-century as immanent objects through the work of Bergson.

What are the legacies of the Cold War? This interdisciplinary collection explores how, in a number of fundamental ways, contemporary life and thought continue to be shaped by theories, technologies ...
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What are the legacies of the Cold War? This interdisciplinary collection explores how, in a number of fundamental ways, contemporary life and thought continue to be shaped by theories, technologies and attitudes that were forged during World War II and developed into organisational structures during the long Cold War. From futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we live in a world imagined and engineered during the Cold War.Less

Cold War Legacies : Systems, Theory, Aesthetics

Published in print: 2016-12-01

What are the legacies of the Cold War? This interdisciplinary collection explores how, in a number of fundamental ways, contemporary life and thought continue to be shaped by theories, technologies and attitudes that were forged during World War II and developed into organisational structures during the long Cold War. From futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we live in a world imagined and engineered during the Cold War.

This book presents an examination of the relations between historical and, crucially, contemporary ideas of luxury. The book provides a technocultural focus on aesthetic, design-led media practice ...
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This book presents an examination of the relations between historical and, crucially, contemporary ideas of luxury. The book provides a technocultural focus on aesthetic, design-led media practice with key case studies, including Hiroshi Sugimoto's Silk Shiki for Hermès, the plain white T-shirt, and Louis Vuitton Moët Hennessy (LMVH). To understand luxury, the book considers the socio-cultural value and market price of luxury; the desire for luxury; the social and spatial construction of luxury; the object and art of luxury consumption; architecture as a luxury commodity; and geographies of production and consumption, as illustrated by the Louis Vuitton website.Less

Critical Luxury Studies : Art, Design, Media

Published in print: 2016-06-01

This book presents an examination of the relations between historical and, crucially, contemporary ideas of luxury. The book provides a technocultural focus on aesthetic, design-led media practice with key case studies, including Hiroshi Sugimoto's Silk Shiki for Hermès, the plain white T-shirt, and Louis Vuitton Moët Hennessy (LMVH). To understand luxury, the book considers the socio-cultural value and market price of luxury; the desire for luxury; the social and spatial construction of luxury; the object and art of luxury consumption; architecture as a luxury commodity; and geographies of production and consumption, as illustrated by the Louis Vuitton website.

This book aims to re-ignite debates about film as an art form – as part of an aesthetic process that incorporates the ‘bodies’ of our material, technological and molecular worlds. The author suggests ...
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This book aims to re-ignite debates about film as an art form – as part of an aesthetic process that incorporates the ‘bodies’ of our material, technological and molecular worlds. The author suggests that these different perceptions of ‘body’ are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness. Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon, the book posits a creative collusion between Deleuzian philosophy – specifically Deleuze's ideas about desire, pleasure, sensation, affect and ‘becoming-woman’ – and contemporary film studies.Less

Deleuze and Cinema : The Aesthetics of Sensation

Barbara Kennedy

Published in print: 2000-12-15

This book aims to re-ignite debates about film as an art form – as part of an aesthetic process that incorporates the ‘bodies’ of our material, technological and molecular worlds. The author suggests that these different perceptions of ‘body’ are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness. Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon, the book posits a creative collusion between Deleuzian philosophy – specifically Deleuze's ideas about desire, pleasure, sensation, affect and ‘becoming-woman’ – and contemporary film studies.

The Early Mediaeval Scottish philosopher and theologian John Duns Scotus shook traditional doctrines of logical universality and logical particularity by arguing for a metaphysics of ‘formal ...
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The Early Mediaeval Scottish philosopher and theologian John Duns Scotus shook traditional doctrines of logical universality and logical particularity by arguing for a metaphysics of ‘formal distinction’. Why did the Nineteenth Century poet and self-styled philosopher Gerard Manley Hopkins find this revolutionary teaching so appealing?
John Llewelyn answers this question by casting light on various neologisms introduced by Hopkins and reveals how Hopkins endorses Scotus’s claim that being and existence are grounded in doing and willing.
Drawing on modern respon
ses to Scotus made by Heidegger, Peirce, Arendt, Leibniz, Hume, Reid, Derrida and Deleuze, Llewelyn’s own response shows by way of bonus why it would be a pity to suppose that the rewards of reading Scotus and Hopkins are available only to those who share their theological presuppositionsLess

Gerard Manley Hopkins and the Spell of John Duns Scotus

John Llewelyn

Published in print: 2015-11-01

The Early Mediaeval Scottish philosopher and theologian John Duns Scotus shook traditional doctrines of logical universality and logical particularity by arguing for a metaphysics of ‘formal distinction’. Why did the Nineteenth Century poet and self-styled philosopher Gerard Manley Hopkins find this revolutionary teaching so appealing?
John Llewelyn answers this question by casting light on various neologisms introduced by Hopkins and reveals how Hopkins endorses Scotus’s claim that being and existence are grounded in doing and willing.
Drawing on modern respon
ses to Scotus made by Heidegger, Peirce, Arendt, Leibniz, Hume, Reid, Derrida and Deleuze, Llewelyn’s own response shows by way of bonus why it would be a pity to suppose that the rewards of reading Scotus and Hopkins are available only to those who share their theological presuppositions

The Invention of a People explores the residual relation between Heidegger’s thought and Deleuze’s novelty. Contextualising the problematic of a people-to-come within a larger political and ...
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The Invention of a People explores the residual relation between Heidegger’s thought and Deleuze’s novelty. Contextualising the problematic of a people-to-come within a larger political and philosophical context of postwar thinkers of community, the book addresses the impasses resulting from the philosophical prioritization of sameness and identity and casts Deleuze’s project as both an extension and radicalization of the Heideggerian themes of immanence, ontological difference and the transformative potential of art. Through interstitial readings of Paul Klee, Kostos Axelos, Arthur Rimbaud, the 1960’s art collective Fluxus, and contemporary artist Brian Fridge, the book offers creative encounters between Heidegger and Deleuze which act as provocations from the outside, opening new lines of flight and hitherto unthought terrain. A key claim is that to become worthy of the events that befall us, philosophy must move from ontology to a fluxology, which is predicated upon the cultivation of a new sensibility for the affect and immanence. Insisting on the necessary entwinement of the aesthetic and the political, the author develops a diagrammatic image of a people-to-come that is constantly in flux and can answer the demands of the untimely future.Less

The Invention of a People : Heidegger and Deleuze on Art and the Political

Janae Sholtz

Published in print: 2015-04-01

The Invention of a People explores the residual relation between Heidegger’s thought and Deleuze’s novelty. Contextualising the problematic of a people-to-come within a larger political and philosophical context of postwar thinkers of community, the book addresses the impasses resulting from the philosophical prioritization of sameness and identity and casts Deleuze’s project as both an extension and radicalization of the Heideggerian themes of immanence, ontological difference and the transformative potential of art. Through interstitial readings of Paul Klee, Kostos Axelos, Arthur Rimbaud, the 1960’s art collective Fluxus, and contemporary artist Brian Fridge, the book offers creative encounters between Heidegger and Deleuze which act as provocations from the outside, opening new lines of flight and hitherto unthought terrain. A key claim is that to become worthy of the events that befall us, philosophy must move from ontology to a fluxology, which is predicated upon the cultivation of a new sensibility for the affect and immanence. Insisting on the necessary entwinement of the aesthetic and the political, the author develops a diagrammatic image of a people-to-come that is constantly in flux and can answer the demands of the untimely future.

Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his ...
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Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his epistemology. It draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading ‘The Critique of Pure Reason’ is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. Arguing for the centrality of aesthetics in philosophy, and within experience in general, it challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture.Less

Kant's Aesthetic Epistemology : Form and World

Fiona Hughes

Published in print: 2007-05-25

Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his epistemology. It draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading ‘The Critique of Pure Reason’ is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. Arguing for the centrality of aesthetics in philosophy, and within experience in general, it challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture.

What is narrative? Ridvan Askin answers this question by bringing together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory and the recent speculative turn. Through ...
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What is narrative? Ridvan Askin answers this question by bringing together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory and the recent speculative turn. Through this process he develops a transcendental empiricist concept of narrative. Against the established consensus of narrative theory he argues for an understanding of narrative as fundamentally nonhuman, unconscious and expressive. Narrative and Becoming provides close readings of a number of contemporary North American fictions, most prominently Ana Castillo’s The Mixquiahuala Letters (1986), Michael Ondaatje’s The Collected Works of Billy the Kid (1970), Colson Whitehead’s The Intuitionist (1999) and Mark Z. Danielewski’s House of Leaves (2000), showcasing their genuine metaphysical quality.Less

Narrative and Becoming

Ridvan Askin

Published in print: 2016-09-01

What is narrative? Ridvan Askin answers this question by bringing together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory and the recent speculative turn. Through this process he develops a transcendental empiricist concept of narrative. Against the established consensus of narrative theory he argues for an understanding of narrative as fundamentally nonhuman, unconscious and expressive. Narrative and Becoming provides close readings of a number of contemporary North American fictions, most prominently Ana Castillo’s The Mixquiahuala Letters (1986), Michael Ondaatje’s The Collected Works of Billy the Kid (1970), Colson Whitehead’s The Intuitionist (1999) and Mark Z. Danielewski’s House of Leaves (2000), showcasing their genuine metaphysical quality.

Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a ...
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Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.Less

Practising with Deleuze : Design, Dance, Art, Writing, Philosophy

Suzie AttiwillTerri BirdAndrea EckersleyAntonia Pont

Published in print: 2017-11-01

Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.

Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to propose a ‘counter-discourse’ of speculative approaches to art history. How could today’s materialist, ...
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Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to propose a ‘counter-discourse’ of speculative approaches to art history. How could today’s materialist, realist, pragmatist, vitalist or object-oriented speculations offer alternatives to the mere complementarity of philosophy of art and art history, often based on mutual recognition and critical limitation rather than imaginative crossovers? What new intermedial methodologies for art and art historical writing do they provide? Or vice versa, how can the encounter with art induce new forms of philosophy? How do speculative concepts of time, past and contingency challenge typically modern engagements with art’s ‘history’? Is there, for example, an unexpected contemporary relevance for pre-modern, e.g. or mannerist or gothic ideas of art? Is it possible for art history to experience a work of art in its novelty beyond its historical facticity? And what is the speculative potential of works of art themselves? Does the speculative open up new ways of extending art into fields of biology, mathematics or the digital? What is the ‘thing’ or ‘object’ of art, whether inanimate or animate? What does it mean to have an ‘idea’? And finally, what remains of ‘beauty’ and ‘expressivity’, after decades of critical mistrust and embarrassed deconstruction?Less

Speculative Art Histories : Analysis at the Limits

Published in print: 2017-10-01

Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to propose a ‘counter-discourse’ of speculative approaches to art history. How could today’s materialist, realist, pragmatist, vitalist or object-oriented speculations offer alternatives to the mere complementarity of philosophy of art and art history, often based on mutual recognition and critical limitation rather than imaginative crossovers? What new intermedial methodologies for art and art historical writing do they provide? Or vice versa, how can the encounter with art induce new forms of philosophy? How do speculative concepts of time, past and contingency challenge typically modern engagements with art’s ‘history’? Is there, for example, an unexpected contemporary relevance for pre-modern, e.g. or mannerist or gothic ideas of art? Is it possible for art history to experience a work of art in its novelty beyond its historical facticity? And what is the speculative potential of works of art themselves? Does the speculative open up new ways of extending art into fields of biology, mathematics or the digital? What is the ‘thing’ or ‘object’ of art, whether inanimate or animate? What does it mean to have an ‘idea’? And finally, what remains of ‘beauty’ and ‘expressivity’, after decades of critical mistrust and embarrassed deconstruction?